Virtual production capabilities are advancing at pace and will also start to become integrated into regular production schedules to reduce production times and costs. What’s more VP is being seen as a way to get productions that have been stifled under Covid restrictions to move quickly into production while physical sound stage capacity is maxxed out. However, questions still linger for content producers; principally around the higher capital cost of VP for early adopters and the urgent need to train and educate the industry in how to work with the technology.
In this new series, John Watkinson looks at all aspects of electricity.
Here we dip a toe into spectrum analysis. The water’s warm.
For decades, a television studio’s production team has been no further from the action than a cable can comfortably be run.
With the advent of log recording and higher resolution, and large-format cameras, DOPs are increasingly entertaining the notion that just about anything can be ‘fixed’ or finished in post.
While LED monitors are increasingly showing up in news studios large and small, in many cases replacing the green screen studios of old, make no mistake that virtual sets are advancing and, in tandem with augmented reality graphics, are changing the way stories are told on air.
Whether we think of it as virtual production, or just a particularly sophisticated variation on the back projection techniques that have been used for years, direct-view LED video displays have gained a hugely positive reputation in film and television effects work.
After two years of virtual gathering, broadcasters convening in person for this year’s NAB Show in Las Vegas will see a lot of new faces due to management and staff changes at the various vendors. One notable “new” figure will be Dr. Andrew Cross, formerly with NewTek, Vizrt and now the new CEO of Grass Valley (GV).